Ana Topalovic

Ana Topalovic, cellist, composer, teacher. For some years, those who wish to have her as a teacher can do so without leaving their home. A nice experience, born almost by chance. Let’s get to know Ana first of all through one of his videos and then with a few questions. 
When did you start playing and why did you choose the cello?
I started playing when I was around 3 years old, using toys, baby xylophones, or anything I could get my hands on. When I was 6, my parents didn’t have a choice but to put me in a music school where I first played piano. I still remember vividly the day when I was introduced to the cello. It was love at first sight & sound.

Which teachers were the most decisive in your training, and from which points of view?
As it happens, I had to change a couple of teachers during my education and I was really lucky because I got exactly the right teacher at the right time for my development. And I’ve learned a lot from every one of them. But the one who stands out for me was my last professor, Martin Hornstein. He shaped me not only as a cellist but also as an artist.

During your career, what were the experiences that gave you the most important satisfaction?
There are so many! First solo concert, the first time in Vienna Musikverein or Carnegie Hall, every time I play for kids or when I receive a piece written especially for me. When I see a sudden spark in the eyes of my audience. When I perform with amazing colleagues, when Mr. Cello is in a good mood, and when my synesthesia (seeing music) intensified after giving birth to my daughter. When I get paid as I should. When I get to meet different peoples and cultures through my work… so many!!

In your professional activity, do you have more satisfaction in playing, teaching, or composing?
These are three totally different activities, but they are all creative and about music and that’s why I enjoyed them all.

How and when was your interest in the composition born?
It came naturally. Already as a child, I enjoyed some light improvisation on piano or cello. As I developed as an artist it just took a more professional form. I have a kind of cinema and radio (having synesthesia) in my inner eye and ear and all of it just has to come out, it is a very natural process for me.

When composing, do you prefer to fix your musical thoughts with paper and pencil, or do you use music software?
I love gadgets!!  I use my tablet for almost everything. I also perform with the digital scores.

When and why did you come up with the idea of ​​giving online lessons via Skype?
A student of mine was moving to Germany and she asked me if I would be willing to give her lessons via Skype. It worked great, even 8 years ago. Also, when I travel and give master classes I meet many students who would like to continue learning with me but cannot afford to come to Vienna. All this prompted me to start an online school and it has brought me great joy ever since.

What are the advantages of this type of teaching and what are the limits?
There are many advantages: you can stay in the comfort of your own home, you don’t have to pay for expensive airplane tickets (2 of them), or for a hotel. The internet connection and simple equipment are nowadays working so well that I’m able to hear even very fine nuances in playing. And the other way around. Most of the smartphones are enough, you don’t even need to buy additional equipment. I have a flexible scheduling system and a very fair cancellation policy. It costs less than a standard masterclass or lesson. Everyone around the world is welcome.
The one disadvantage is that you still can’t really play together as there is a short lag. But I am very hopeful that it will be solved in the near future.

There are, in your opinion, compositions that, in any case, a teacher should include in the course of his students’ studies, or it is necessary to select for each student a different path suitable for strengthening weaknesses and improving the strengths of each one?
There are a lot of methods, techniques, etudes, and practices we can use to make an individual program for every student. It is very important, the most important thing in teaching to respect and nurture the individuality of your students. That also means offering them a broad spectrum of repertoire and more than one solution to a problem.

Is it useful to participate in competitions during the study period?
Not often, but in some cases, yes.

When a student starts playing with other musicians, what are the difficulties to overcome?
Mostly our own ego. It starts being about the ensemble and the very difficult thing of combining the originality of a convincing performance with a sense of togetherness.

What are your musical projects for 2020?
I will perform some Beethoven with my duo partner, the accordionist Nikola Djoric and actress Chris Pichler; Start a new concert series; organize my festival in Vienna in autumn; perform my new solo program “Bachiana“, also some performances with the dancer Rosalie Wanka as well to teach in my cello Studio and organize class concerts.

Thank you very much for your helpfulness and kindness. Good luck with your musical dreams!

March 16, 2020